Never do this: smartphones can be deadly to magnetically stored data in some circumstances.

In my dealings with preserving older, born-digital documents and data, I’ve run into this situation quite often: Someone comes into the DCRC with a 3.5″ floppy disk or other magnetic media and asks if we can help them migrate the data to more modern storage, such as a USB flash drive. We do maintain a couple of floppy drives for this purpose, so normally we can help. However, we sometimes cringe and express a bit of concern at how they’re holding the floppy disk(s) being brought in, or rather, what people commonly hold those old disks against.

What’s the problem? Smartphones, and sometimes tablets or even modern laptops. With mobile devices being nearly ubiquitous in the US and particularly among college students and faculty, it’s a normal occurrence to see them being carried around in one’s hand. It’s also not uncommon to stack a smartphone against some other object a person might be carrying… like a book, or a laptop, or, unfortunately, that floppy disk you might want to recover data from.

1/2 inch, consumer, open reel video format used in the 1960s-70s. This format suffers from Sticky Shed Syndrome, making playback difficult. Working machines for this long-obsolete format are scarce. Source: IUB Media Preservation Initiative, used with permission. Note: IUB has asked me to stress that the above photo is not representative of all media collections at the university.

Home to at least 3 million media objects, including sound and moving image recordings, photos, documents, and artifacts, IUB has come to grips with the issue at hand: a great deal of their heritage is locked within obsolete electronic and analog playback formats for sound and moving images. As an old format becomes obsolete, it gets harder by the day to find working equipment to play back these objects. And that assumes that the objects can be played back, not having succumbed to age, wear and physical decay. Lacquer from old aluminum audio discs can delaminate, making them unplayable. Video tapes from the 1960s, 70s and 80s can suffer from a condition where the binding agent that holds the recording material to the plastic base sheds, allowing audio and video recordings to literally flake into nothingness. Film, too, has its own serious decay problems.

With its vast collection, faculty and staff at IUB knew the situation could become serious if nothing was done. Their first step was to take stock of the situation, and consult outside experts (myself included) to get input how how best to address the problem.

Their efforts began nearly 18 months ago when a group of IUB faculty and staff, concerned about the potential fate of important special collections on campus, approached their Office of the Vice Provost for Research about the critical issues of media, and to impress upon them that time was of the essence to address these issues.

“Even though [IU Bloomington’s] needs are now documented, and it is far better equipped than most universities in the country to meet them, there is no guarantee that IU can adequately preserve its collections in the near future.”

The culmination of their efforts to date have been documented on the IUB Media Preservation Website, where they document their comprehensive effort to preserve IUB’s vast audio, video, and film holdings. Some important documents from their study and efforts including IUB’s Director of Media Preservation Services Mike Casey‘s Media Preservation Survey (PDF), outlining the collection holders, preservation stakeholders, the risks involved, and potential preservation strategies. A follow-on public report (12MB PDF) also lays out the situation and what steps are being taken to save their special collections and historic content. Continued engagement, updates, and discussion on decisions made and procedures undertaken are regularly made available on their Media Preservation Blog.

The IUB Media Preservation Blog

IUB has many years of work ahead of it, not only to transfer older content into more modern digital formats, but also to continue to maintain those archives, preserve new content, and keep pace with new technologies and formats to ensure that their collections are accessible. It’s encouraging to see them in action, and their efforts stand as a potential framework for other organizations in a similar bind to model their initiatives after.

A Sony HVR-Z1U camera. This device is a digital video workhorse at the SCC, and relies heavily on digital video tape... something which could be rather hard to come by in the near future.

My heart, thoughts, and a donation goes to those affected by the Earthquake, Tsunami, and now radiological crisis that Japan must grapple with. It’s not exaggeration to say this turn of events is truly unprecedented. Sitting thousands of miles away, and only observing the events through websites and television screens, I’m aware that I cannot possibly grasp the ordeal that survivors now face.

With that preface, it’s difficult to even think at this point of how the disaster will inconvenience those of us far removed. However, there will be a rather significant impact for quite some time, given our technological dependencies in a digital world, the number of electronic components and supplies that are produced in Japan, and how we use those components to capture our current history and cultural heritage.

Our first hints of trouble began with an advisory issued to consumers of magnetic tape media. Sony, a major manufacturer of various varieties of tape media as well as semiconductors, optical discs such as DVD and Blu-ray, and electronic components, has been hit hard. Sony was forced to shut down a number of factories in the region while recovery efforts continue. The earthquake has forced a halt to production in various manufacturing facilities in Japan, including those of magnetic media manufacturers, and suppliers are now warning of an impending shortage and possible price spikes:

“Our industry has already been affected by a halt in media manufacturing operations – professional media supply shortages are evident, namely HDCam SR,” explained a post on the Comtel Pro Media web site. “Worldwide stock shortages present a realistic threat to our industry and the immediate needs of the television and motion picture production.”

Of particular note is a shutdown of the Sony Corporation Sendai Technology Center, currently the only facility in the world producing HDCAM-SR tapes.

Some of our best digital preservation projects have been the direct result of collaboration; working with dozens of separate entities that all have valuable materials that they want to share with the online world. That collaboration brings some challenges though, and one of biggest problems we’ve run into has been how people name files after they’ve created or digitized them.

For experienced computer users who store lots of valuable informartion digitally, it goes without saying that clearly naming files is extremely important. Often, the filename is the first thing a user sees that identifies what’s in a file; the information it contains. Without any other cataloging system in place, file names become the way to figure out what’s inside the hundreds of thousands of individual files that can sit on the average persons’ desktop computer, and having countless “untitled” or ambiguously-named files can make finding the information you want nearly impossible.

Fortunately, modern computer operating systems give people a wide latitude in how they can name files. Most people have a file naming method that works best for them, and for the most part, individual systems can work well, so long as they stay consistent and aren’t too hard for most people to easily comprehend. However, things can get a bit more tricky when such files are destined for a digital library, online repository, or other type of internet-based storage and delivery medium. When these types of architectures come into play, some of that wide latitude that modern computers give us in naming files can cause some complications. Web-based content management systems aren’t always as flexible or forgiving with filenames, and can sometimes reject or even mangle files that are more liberally-named.

For this reason, it’s helpful to establish and follow a few simple ground rules when working on a digital preservation project that requires file handling.

If you have any Kodachrome Film stashed away, the last days to get it developed are at hand. According to Dwayne’s Photo, the last commercial developer of the film format, they will be developing their last received rolls of Kodachrome film on December 31, 2010. After this date, their remaining equipment to handle this type of film will be shut down forever, and discarded. Per the statement on their website:

The last day of processing for all types of Kodachrome film will be December 30th, 2010. The last day Kodak will accept prepaid Kodachrome film in Europe is November 30th, 2010. Film that is not in our lab by noon on December 30th will not be processed.